[Curt Ash]

Hi Ben,

Sorry for the late reply. All our footage has been transcoded to ProResLT. After the transcode, an Assistant Editor imports all the footage into the project and organizes it for the Editor. I’m not sure if they click and drag footage into the project, import through the Menu, or use the media browser. I’m starting to wonder if Premiere has a preferred way to import media though. Any thought?

Thanks for you help!

Curt Ash
Senior Editor
Committee Films
Minneapolis, MN
committeefilms.com

[Curt Ash]

Hi David,

Sorry for the late reply to this. My boss has been out of the country on a shoot, so I haven’t been able to try this, but I think the gang function may be the culprit.

Thank you for the suggestion.

Curt Ash
Senior Editor
Committee Films
Minneapolis, MN
committeefilms.com

[Curt Ash]

Hey Mark,

I’m having a similar problem right now. I’m trying to consolidate and transcode a 2 minute sequence to send to our online house so they can finish it. I keep getting to the point where it starts to copy media and then it just sits there for hours. In fact, I left last night and came back this morning and Premiere was still copying media. It was up to 1.35TB of copied media for a project that it was estimating the new size would be 2.35GB.

Did you ever find a solution or a work around. Any advice would be greatly appreciated. I’m on the latest version of CC2015 running OSX 10.9.5. I”m gonna attempt to attach a photo of the settings I’m using.

Thank you!

Curt Ash
Senior Editor
Committee Films
Minneapolis, MN
committeefilms.com

[Curt Ash]

Hi David,

Thank you for your reply. I may have taken some liberty when I said it “wasn’t working the way it should”. When he attempts to match frame from the timeline, it does go to the exact frame in the program monitor and it loads that clip in the program monitor. The difference is if I match frame I can then play that clip in the program monitor on my computer, using my settings and he cannot play that clip in the program monitor on his computer using his settings.

Hopefully that’s a better explanation? Thanks for your help.

[Curt Ash]

Whoa, I didn’t know that! All this time I’ve been moving all my media down, then moving the clip where I want it to go, then deleting the blank space between the two like a sucker!

Great tip, thanks so much!

[Curt Ash]

Hey Christina,

I have a Geekdesk v3 and its been a lifesaver.

https://www.geekdesk.com/?utm_source=Adwords&utm_medium=Text&utm_content=Motorized&utm_campaign=Trademark

I was barely able to walk out of my edit room at the end of a very long day before, but now I alternate between standing and sitting all day and feel much better. The V3 that I have accommodates two 27 inch monitors and a 24 inch reference monitor, so its a good size for editors. I have also seen a smaller corner desk sit/stand model at ikea.

Hope that helps!

[Curt Ash]

Oh man, that is awesome. Thanks!

Now, a second question: Can I do the same thing with a WAV file that has multiple tracks on it? For example, a lot of our scripted stuff has two booms and then lavs for each character. Right now, each of those channels gets its own track in my timeline. Sometimes those files take up 6-8 tracks and its a pain to try and keep all them in track. Is there a way to make that WAV file fill one audio channel instead of 6-8? I tried selecting “use track” for multichannel mono media in my preferences, but that didn’t seem to do it. Ideally it would be like how 5.1 is handled. That is really slick having it all in one channel.

[Curt Ash]

Hi Neal,

You’ll need a i/o device of some type. I’ve been very happy with my blackmagic intensity extreme. Also, AJA makes a product called TTap that does the same thing.

Best of luck.

[Curt Ash]

Hey Andrew,

I was having all kinds of trouble with Render and Replace, but since I’ve updated my drivers, I just tried it and it worked really well. It appears that you can go back to the AE Comp if you need to, so that’s helpful. I’ll be doing the render and replace on all my DL clips and see how it works.

[Curt Ash]

Hey Alex,

Yeah, we use the TC burn for monitoring and for output. The way we’ve been doing it is a different TC Burn layer for each act. That way each act can have its own hour TC. Act 1 is 1 hr, Act 2, is 2 hr, Act 3 is 3Hr, and on. So since the show I’m working on is 10 acts, I have 10 Adjustment layers that each have a TC filter in them. I throw the appropriate layer on the top video channel, lock it, and start editing below. Sounds a little complicated, but that’s what we’ve been doing in FCP7 and we’ll continue it for a while in Premiere.

I just stumbled upon transparent layers instead of adjustment layers. I’m not sure how Premiere treats them differently, but when I add a transparent layer, my DL sequences play back just fine and I don’t have to render them.

Weird things to learn and keep track of. Thank you for your help.